'A series of fleeting images and memories ... united by the high intelligence and beauty of Hardwick's prose.' - Sally Rooney

Rediscover a lost American classic: Sleepless Nights, a kaleidoscopic scrapbook of one woman's memories, here reissued with a new introduction by Eimear McBride.

I am alone here in New York, no longer a we ...

First published in 1979, Sleepless Nights is a unique collage of fiction and memoir, letters and essays, portraits and dreams. It is more than the story of a life: it is Elizabeth Hardwick's experience of womanhood in the twentieth century. Escaping her childhood home of Kentucky, the narrator arrives at a bohemian hotel in Manhattan filled with 'drunks, actors, gamblers ... love and alcohol and clothes on the floor.' Here begin the erotic affairs and dinner parties, the abortions and heartbreaks, the friendships and 'people I have buried'. Here are luminous sketches of characters she has met that illuminate the era's racism, sexism, and poverty. Above all, here is prose blurring into poetry, language to lose - and perhaps to find - yourself in.

Society tries to write these lives before they are lived. It does not always succeed.

Elizabeth Hardwick's iconic essay collection Seduction and Betrayal is a radical portrait of women and literature, reissued with a new introduction by Deborah Levy.

'Hardwick's sentences are burned in my brain.' - Susan Sontag

Sidelined. Betrayed. Killed off. Elizabeth Hardwick dissects the history of women and literature.

In her most virtuoso work of criticism, she explores the lives of the Brontës, Woolf, Eliot and Plath; the fate of literary wives such as Zelda Fitzgerald and Jane Carlyle; and the destinies of fictional heroines from Richardson's Clarissa to Ibsen's Nora. With fierce empathy and biting wit, Hardwick mines their childhoods, families, and personalities to probe the costs of sex, love, and marriage. Shattering the barrier between writing and life, she asks who is the seducer and who the seduced; who the victim and who the victor.

First published in 1974, yet both urgently timely and timeless, Seduction and Betrayal explodes the conventions of the essay: and the result is nothing less than a reckoning.

Long hailed as a seminal work of modernism in the tradition of Joyce and Kafka, and now available in a supple new English translation, Italo Svevo’s charming and splendidly idiosyncratic novel conducts readers deep into one hilariously hyperactive and endlessly self-deluding mind. The mind in question belongs to Zeno Cosini, a neurotic Italian businessman who is writing his confessions at the behest of his psychiatrist. Here are Zeno’s interminable attempts to quit smoking, his courtship of the beautiful yet unresponsive Ada, his unexpected–and unexpectedly happy–marriage to Ada’s homely sister Augusta, and his affair with a shrill-voiced aspiring singer. Relating these misadventures with wry wit and a perspicacity at once unblinking and compassionate, Zeno’s Conscience is a miracle of psychological realism.

Drawn from Melville’s own adolescent experience aboard a merchant ship, Redburn charts the coming-of-age of Wellingborough Redburn, a young innocent who embarks on a crossing to Liverpool together with a roguish crew. Once in Liverpool, Redburn encounters the squalid conditions of the city and meets Harry Bolton, a bereft and damaged soul, who takes him on a tour of London that includes a scene of rococo decadence unlike anything else in Melville’s fiction. In her Introduction, Elizabeth Hardwick writes, “Redburn is rich in masterful portraits—a gallery of wild colors, pretensions and falsehoods, fleeting associations of unexpected tenderness. . . . Redburn is not a document; it is a work of art by the unexpected genius of a sailor, Herman Melville.”

This Modern Library Paperback Classic is set from the text of the first American edition of 1849.

In "Sleepless Nights" a woman looks back on her life--the parade of people, the shifting background of place--and assembles a scrapbook of memories, reflections, portraits, letters, wishes, and dreams. An inspired fusion of fact and invention, this beautifully realized, hard-bitten, lyrical book is not only Elizabeth Hardwick's finest fiction but one of the outstanding contributions to American literature of the last fifty years.

The Dolphin Letters offers an unprecedented portrait of Robert Lowell and Elizabeth Hardwick during the last seven years of Lowell's life (1970 to 1977), a time of personal crisis and creative innovation for both writers. Centred on the letters they exchanged with each other and with other members of their circle - writers, intellectuals, friends and publishers, including Elizabeth Bishop, Caroline Blackwood, Mary McCarthy and Adrienne Rich - this book has the narrative sweep of a novel, telling the story of the dramatic breakup of Lowell and Hardwick's twenty-one-year marriage and their extraordinary, but late, reconciliation.

Lowell's sonnet sequence The Dolphin (for which he controversially adapted Hardwick's letters as a source) and his last book, Day by Day, were written during this period, as were Hardwick's influential books Seduction and Betrayal: Women and Literature and Sleepless Nights. Lowell and Hardwick are acutely intelligent observers of marriage, children, friends and the feelings that their personal tribulations gave rise to.

The Dolphin Letters, edited by Saskia Hamilton, is a debate about the limits of art - what occasions a work of art, and what moral and artistic licence artists have to make use of their lives and the lives of others as material. The crisis of Lowell's The Dolphin was profoundly affecting to everyone around him, and Bishop's warning that 'art just isn't worth that much' haunts us today.

The modern Italian classic discovered and championed by James Joyce, ZENO'S CONSCIENCE is a marvel of psychological insight, published here in a fine new translation by William Weaver - the first in more than seventy years. Italo Svevo's masterpiece tells the story of a hapless, doubting, guilt-ridden man paralyzed by fits of ecstasy and despair and tickled by his own cleverness. His doctor advises him, as a form of therapy, to write his memoirs; in doing so, Zeno reconstructs and ultimately reshapes the events of his life into a palatable reality for himself - a reality, however, founded on compromise, delusion, and rationalization. With cigarette in hand, Zeno sets out in search of health and happiness, hoping along the way to free himself from countless vices, not least of which is his accursed "last cigarette!" (Zeno's famously ineffectual refrain is inevitably followed by a lapse in resolve.) His amorous wanderings win him the shrill affections of an aspiring coloratura, and his confidence in his financial savoir-faire involves him in a hopeless speculative enterprise. Meanwhile, his trusting wife reliably awaits his return at appointed mealtimes. Zeno's adventures rise to antic heights in this pioneering psychoanalytic novel, as his restlessly self-preserving commentary inevitably embroiders the truth. Absorbing and devilishly entertaining, ZENO'S CONSCIENCE is at once a comedy of errors, a sly testimonial to he joys of procrastination, and a surpassingly lucid vision of human nature by one of the most important Italian literary figures of the twentieth century.

The novelist and essayist Elizabeth Hardwick is one of contemporary America's most brilliant writers, and "Seduction and Betrayal," in which she considers the careers of women writers as well as the larger question of the presence of women in literature, is her most passionate and concentrated work of criticism. A gallery of unforgettable portraits--of Virginia Woolf and Zelda Fitzgerald, Dorothy Wordsworth and Jane Carlyle--as well as a provocative reading of such works as "Wuthering Heights, Hedda Gabler," and the poems of Sylvia Plath, "Seduction and Betrayal" is a virtuoso performance, a major writer's reckoning with the relations between men and women, women and writing, writing and life.

Elizabeth Hardwick was one of America's great postwar women of letters, celebrated as a novelist and an essayist. Until now, however, her slim but remarkable achievement as a writer of short stories has remained largely hidden, tucked away in the pages of the periodicals-such as Partisan Review, The New Yorker, and The New York Review of Books-in which her work originally appeared. This first collection of Hardwick's short fiction reveals her brilliance as a stylist and as an observer of contemporary life. A young woman returns from New York to her childhood Kentucky home and discovers the world of difference within her. A girl's boyfriend is not quite good enough, his "silvery eyes, light and cool, revealing nothing except pure possibility, like a coin in hand." A magazine editor's life falls strangely to pieces after she loses both her husband and her job. Individual lives and the life of New York, the setting or backdrop for most of these stories, come to life in unexpected and lasting ways in Hardwick's beautiful and razor- harp stories.

The Dolphin Letters offers an unprecedented portrait of Robert Lowell and Elizabeth Hardwick during the last seven years of Lowell's life, a time of personal crisis and creative innovation for both writers. Lowell's controversial sonnet sequence, The Dolphin (for which he used Hardwick's letters as a source), and Hardwick's Sleepless Nights were written during this period. Centered on the letters they exchanged with each other and with other members of their circle - writers, intellectuals, friends, and publishers, including Elizabeth Bishop, Caroline Blackwood, Mary McCarthy, and Adrienne Rich - the book has the narrative sweep of a novel, telling the story of the dramatic breakup of their twenty-one-year marriage and their extraordinary, but late, reconciliation. Lowell and Hardwick are acutely intelligent observers of marriages, children, and friends, and of the feelings that their personal crises gave rise to. The Dolphin Letters, masterfully edited by Saskia Hamilton, is a debate about the limits of art - what occasions a work of art, what moral and artistic license artists have to make use of their lives as material, what formal innovations such debates give rise to. The crisis of Lowell's The Dolphin was profoundly affecting to everyone surrounding him, and Bishop's warning to Lowell - "art just isn't worth that much" - haunts.

This scarce antiquarian book is a selection from Kessinger Publishing's Legacy Reprint Series. Due to its age, it may contain imperfections such as marks, notations, marginalia and flawed pages. Because we believe this work is culturally important, we have made it available as part of our commitment to protecting, preserving, and promoting the world's literature. Kessinger Publishing is the place to find hundreds of thousands of rare and hard-to-find books with something of interest for everyone

In the fall of 1959, Harper's Magazine published a special supplement on the state of writing and the American literary scene. The supplement was greeted with a broadside of commendation and a fusillade of cavil, and has since become recognized as the most useful brief survey of the contemporary state of the American writing arts and of their fellow travelers, the spoken word, the typescript word, the filmed and televised word, and the publishing memorandum. In this newly reissued volume in the Rutgers University Press Classics Imprint, Writing in America proves to be as stimulating as it was in 1960. Here, writers including Robert Brustein, Stanley Kunitz, and C.P. Snow examine the state of writing in American novels, films, and television candidly and critically. The result is a collection of essays that showcase a first-rate and highly entertaining piece of reporting on the American literary scene that resonate in 2017.

Originally published in The Cornhill Magazine in 1878 and in book form in 1879, Daisy Miller brought Henry James his first widespread commercial and critical success. The young Daisy Miller, an American on holiday with her mother on the shores of Switzerland’s Lac Leman, is one of James’s most vivid and tragic characters. Daisy’s friendship with an American gentleman, Mr. Winterbourne, and her subsequent infatuation with a passionate but impoverished Italian bring to life the great Jamesian themes of Americans abroad, innocence versus experience, and the grip of fate. As Elizabeth Hardwick writes in her Introduction, Daisy Miller “lives on, a figure out of literature who has entered history as a name, a vision.”

(Book Jacket Status: Jacketed)Introduction by Pamela KnightsIn "The House of Mirth," Edith Wharton depicts the glittering salons of Gilded Age New York with precision and wit, even as she movingly portrays the obstacles that impeded women's choices at the turn of the century.The beautiful, much-desired Lily Bart has been raised to be one of the perfect wives of the wealthy upper class, but her spark of character and independent drive prevents her from becoming one of the many women who will succeed in those circles. Though her desire for a comfortable life means that she cannot marry for love without money, her resistance to the rules of the social elite endangers her many marriage proposals. As Lily spirals down into debt and dishonor, her story takes on the resonance of classic tragedy. One of Wharton's most bracing and nuanced portraits of the life of women in a hostile, highly ordered world, "The House of Mirth" exposes the truths about American high society that its denizens most wished to deny.

"From the Hardcover edition."

In the fall of 1959, Harper's Magazine published a special supplement on the state of writing and the American literary scene. The supplement was greeted with a broadside of commendation and a fusillade of cavil, and has since become recognized as the most useful brief survey of the contemporary state of the American writing arts and of their fellow travelers, the spoken word, the typescript word, the filmed and televised word, and the publishing memorandum. In this newly reissued volume in the Rutgers University Press Classics Imprint, Writing in America proves to be as stimulating as it was in 1960. Here, writers including Robert Brustein, Stanley Kunitz, and C.P. Snow examine the state of writing in American novels, films, and television candidly and critically. The result is a collection of essays that showcase a first-rate and highly entertaining piece of reporting on the American literary scene that resonate in 2017.